SANFORD MEISNER

THE MEISNER TECHNIQUE

An Acting Methodology

SANFORD MEISNER
(1905 - 1997)
Born August 31, 1905, and raised in Brooklyn, New York, Sanford Meisner
graduated form Erasmus Hall in 1923 and attended The Damrash Institute of
Music (now Juilliard), where he studied to become a concert pianist before
talking his way into a job in a Theater Guild production of Sidney Howard's
They Knew What They Wanted. Sanford Meisner realized then that acting, which
really "dug at him", was what he was looking to find. In 1931, a fervent group
of young actors, including Sanford Meisner, Stella Adler, Lee Strasberg, and
Harold Clurman, among others, joined together to establish the Group
Theatre. It was the first permanent theatre company that brought "Method"
acting, rooted in the methods of Konstantin Stanislavsky, to practice and
prominence in America. Meisner appeared in twelve Group productions,
including the first, "The House of Connelly," and all of Clifford Odets' plays,
including "Waiting for Lefty," which Meisner co-directed with Odets in 1935.
In 1933 Sanford Meisner became disenchanted with pure "Method" acting. He
wrote, "Actors are not guinea pigs to be manipulated, dissected, let alone in a
purely negative way. Our approach was not organic, that is to say not healthy."
Sanford Meisner had ongoing discussions about technique with Adler, who
worked with Stanislavsky in Paris, and Clurman, who took a deep interest in
the American character. Eventually Meisner realized that if American actors
were ever going to achieve the goal of "living truthfully under imaginary
circumstances," an American approach was needed. The Neighborhood
Playhouse provided him with a venue to develop that approach on his own.
In 1935 Sanford Meisner headed the Drama Department at The Playhouse,
while continuing to act and direct plays produced by The Group Theatre until
its demise in 1940. He also appeared on Broadway in "Embezzled" (1944) and
"Crime and Punishment" (1948). Sanford Meisner directed "The Time of Your
Life" (1955) and acted in "The Cold Wind and the Warm" (1958).
Sanford Meisner left The Playhouse in 1958 to become director of the New
Talent Division of Twentieth Century Fox. He moved to Los Angeles, where
he was also able to cultivate his career as a film actor. Sanford Meisner starred
in Odets' "The Story on Page One" (1959), "Tender Is the Night" (1962), and
later "Mikey and Nicky" (1976).
Sanford Meisner returned to the Neighborhood Playhouse as head of the
Drama Department from 1964-1990. In 1985 Meisner and James Carville co-
founded The Meisner/Carville School of Acting on the Island of Bequia in the
West Indies. They later extended the school to North Hollywood, California,
where it still exists. Sanford Meisner, and Carville opened The Sanford
Meisner Center for the Arts in March 1995, and later the school and theatre
were combined to form The Sanford Meisner Center, today the only school
and theatre to operate under Meisner's name.
Sanford Meisner received commendations from Presidents Clinton, Bush and
Reagan. Sanford Meisner was honored by California Governor Pete Wilson
and was named the "Humanitarian of the Year 1990" by The Washington
Charity Awards. His final appearance as an actor was in a guest starring role on
a special episode of "ER" that aired in February 1995. Upon his death on
February 2, 1997, Backstage West dedicated an issue to Meisner and his world-
renowned "Meisner Technique."
Arthur Miller once said of Sanford Meisner, "He has been the most principled
teacher of acting in this country for decades now, and every time I am reading
actors I can pretty well tell which ones have studied with Sanford Meisner. It is
because they are honest and simple and don't lay on complications that aren't
necessary."

Session One
The Reality of Doing
There is a great mistake, something is very wrong in the theatre
today. The majoriry ofour theatre is a theatre where nothing rs
really happening, nothing is really happening right nout. Not
only is right nou.,alI rhat we have available to us in life, it is
absolutely the key to LIFE on the stage. Yet most actors are
reproducing what has been done before. Attempting ro repeat
what "clicked" in rehearsalor to recaDtur€ what "wowed!" lasr
nightt audience.
This raises a wonderful question about one of our jobs as
actors. How do we create "the first time" every time we oerform
the play? Clearly, the audience is paying to see the first tim.
tonight not last night tonight. Yet, we have rehearsedthe play,
made a multitude of choices, we've learned the words and mas-
tered the blocking. So, "We already know" -Vhen the surprise
knock comes at the door in act two, we knoq and, we must
Se$ion One
not know. The actor must not hnou. So how do we "not know "
not anticipate, not get ahead of where we ar€. (and not get
ready for that big moment in the next scenewhile in the miq-
dle of this scene!)
The answer is really very simple (well, simply said. Or as Sandy
said about acting, "It's really very simple-just takes a lot of
years to learn.") The way to make it look like the first time is
for it to be the first time and to achieve this we must be living
fully in the present. For when I am with you right nou ir truly
is the first time and I no longer need to make it "look like."
(rVhat a challenge when so much of our lives are spent in the
illusion of the past and the future, as if they were real. Or as
someone I once heard said, "h's as if ute are driuing doun the
highlual of hfe loohing in tlte rearuieta mirror!') In fact we must
never be "making it look like" on stage.t07hatthen do we do?
Sadly,for the most part, what I see in the theatre are actors who
are not really doing anything. Acting is doing. It is not talking
about-it is really doing. (By the way, very few directors know
about this.) Sanford Meisner created a meticulous and expan-
sive process, a step-by-step, organic and healthy approach to
the craft of acting. He told us that: "The seed to the craft of
acting is the reality ofdoing." Tbe seed,there could be no better
analogy,for this seemingly simple statement continually
unfolds with each step of the journey, it is the spine for all of
the work.
And yes, I did say a "healthy'' approach. Healthy becausethe
work is grounded in who we are today, not who we once lvere
or what we once may have experienced. Also, and especially,
becausethe whole realm of the actor's emotions and the emo-
tional instrument is handled in a way unlike most other tech-
niques. In this approach our emotions come freely, as a side
benefit, a gift, when our attention is on something elseand that
 The 5anford Meisner Approach
something else is u,hat we are doing. The great news here is that
when our attention is not on being emotional, our emotions
suddenly become much more available.
You know there are too many so-called acring classeswhich are
actually therapy sessionsdisguised as acting classes.Teachers
who instigateor push the srudenr ro "get emotional" and leave
the student open and raw, without a senseof purpose or clo-
sure. I have worked with many students who have been dam-
aged by this kind of work. \fhat I want you to know is that
acting is nor emoting. Again, ACTING IS NOT EMOTING.
Acting is doing something.Of course acting does demand of us
the abiliry to accessour own rich emotional life and the way in,
the organic way, is through meaningful doing.
In the 1930s, in New York Ciry, a man named Harold
Clurman, out of his unbound passionand his tremendous dis-
satisfaction with the theatrical experience in this country,
brought together some of the finest theatre artists of his time to
cr€atea company which would totally and fantastically alter the
American theatre. They called themselvesThe Group Theatre,
and in the relatively short time they were rogether, from 1931
until 1940, they brought a depth of spirit, a fervent life and
soul to the stage that was unlike anphing American audiences
had ever witnessed.They were committed to building a new
kind of theatre that was truly collaborative and which spoke to
the moral and social issues of their time. Many greats of the
theatre came out of the Group's founding company-one of
them was Sanford Meisner.
'When
we think of American acring prior to the Group and
look at the examples we have in the silent films, we think of
large, cliche gestures and exaggeratedposing. And though the
4
Session One
Group Theatre members transformed acting in this country
some 60 years ago, I believe the work that we are taclding here
is still revolutionary. For though the old gesturesmay be out,
the new posturesare in. A real moment in the theatre is
extremely hard to find and when it does happen it is olien the
result of an accident on stage-a prop was misplaced, the arm
of a chair falls off, or due to the rain and a lealcy ceiling, the
actors are dripped on. For most actors these are disasters
becausethey are unplanned, not "set" in rehearsals-rather
than embraced as a wonderful surprise, simply something new
to work-off to respond to!
I remember a scene in a play I saw a number of years ago. The
female lead walked away from the two men she was in conver-
sation vr'ith downstage right to go to a table that was upstage
left. Though rhe rwo men were still talking, my attention went
with the woman as she approached the table and on the table, a
tray with a bottle of brandy and four glasses.When she arrived
and began to reach for the brandy, she had a most wonderful,
aurhenric moment (the only one in this play) of sheer terror as
she discovered that the three glasseswere already filled! She
froze in a state of panic as she tried to think of a way to handle
the situation. She finally picked up the bottle and proceeded to
tilt it just enough over each glass so that it would look like she
was really pouring. Now wouldnt it have been much simpler to
notice that the glasseswere already filled and then to simply
serve them?
Isn't it so much simpler and doesn't it make so much more sense
when reading a letter on stageto actually read tbat letter rather
than to pretend to read a piece of paper with squiggly lines on
it. lVith squiggly lines you must remember to move your eyes
in the correct manner to make it look like yolu are actually read-
ing. Vhy not actually read?Less to think about and much less
effort, your eyeswill look like they are reading becausethey are
 The Sanford Meisner Approach
reading and you don't have to work at making the audience
believe you. You know what? You can never make an audience
believe you, you can only invit€ them to shareyour experience.
These examples are useful to illustrate, at a very basic level, this
thing called the reality of doing.-When you do something, you
dont pretend to do it, you really do it. fu I said earlier, this is
the underpinning to all of our work, for ultimately when we are
supposed to be madly in love in a moment of the play, we must
BE madly in love in that moment. -When we are supposed to be
enraged, we must actually be enraged. (Of course, you might
ask about stabbing the hero, watching a distant sunset, or get-
ting drunk on stage. I'm sure youve already determined that we
dont actually do these things on stage. It is when we have made
the meaning of these acts extremely personal and specifically
meaningful that we are able to accept them and live them out
as if they are real. With this acceptance,the impact they have
on us, IS REAL!)
And though many directors are concerned with projection, not
many are aware that it is only, I'll say that again, it is onQ with
the actors actual experienceon stage that we reach ev€ry sear in
the house, reach every person where they live. I know this is
true. As Sandy told us, it is never about being bigger, it is
always about going deeper.
I want to give you a very simple experience of the realiry of
doing. Look at the following two numbers than close your eyes
and in your minds eye, not on paper, multiply the two num-
bers.The rwo numbers are:
7948X6988.
Do it now and then read on.
Session One
Let me ask you a few questions. Did you do it? Did you try to
do it or did you quickly give up? Did you get the answer?Vas
it very difficult and still you gave it your best shot? Listen, the
answer doesn't matter, itt never about the results. It's always
about the attempt. IT IS ALL IN THE AITEMPT. And while
you tried, who was doing the multiplying? Was it you? rVas it
you as Gregory Peck in Z Kill a Mockingbird or you as Joanne
'Woodward
in Rachel Fachel Or were YOU MULIIPLYING?
Though you didn't get the answer, were YOU REALLY
DOINGTHAT?
I bet, if you really tried, something happened to you. You
might have noticed yourself laughing, grunting, feeling hope-
less, or having some other response to this nearly impossible
task. If so, w€re you pretending to have that response to
impress me? Of course not, I'm just a book! You responded
however you did because you were really trying to multiply.
YOU CAME TO LIFE because you were really doing some-
thing! And you didnt haie to force or push or even think about
having an emotion. Your authentic response was out of your
control while your attention was on what you were doing.
Remember that!
A\rARM UP
I want you, as a group, to do the following little game togeth€r.
It's a story-telling game and it works like this: Sit in a circle and
get real tight rogether, pick a person who will begin the story
and pick a direction the story will go around the circle. Now
the rules are that each person may only say one word and as
you go around the circle, you must tell a story. So, do you have
your person who will begin and the direction? Good. Now if
anyone says more than one word, you must stop and start a
ne\/ story. Go ahead and give it a try. Do it for a while and
 The Sanford Meisner Approach
SegsionOne
when you cant bare it any longer, keep it going.
Then, at some right next to you givesyou their word, that you will discover
polnr, stop and read on.
what comesoucofyour mouth.
'What
then must you be doing? Youmut be listeningend,you
I want you ro do it again and this time I want know what? The more you are listening the lessyou will be
you to know that
your mission is to become like one person preparing, controlling. The successof this game comes from
teliing a story. That
means rhat you musr take out all thi pauses really listening and tahing ultat you ger. The more you can do
b.ri..r, .".h p.._
son. So let the story whip around the circle. this, the more you will rust that a word will in Factcome our
This requires that
you rry to tahe the story but that you allow the stiry of your mouth and that with that word, you will tell the storv.
l:t to tahe
yo.u.N,so, you may find the story very funny
ar times. lbid yor',
all end up on the floor laughing?) ir."r,o Having said all thar, give it one more try wirh eyes open and
have a responseto
what is happening bur when it gets in the then readon.
way ofwhat you are <l:iAi i'\
trying to accomplish, nor so great. So, this
time take out all
pauses and become like on€ person telling
a story. Go ahead
and do that for about ten minutes.
REPETITION
The First Step

Try it one more time with rwo additions. Firsr, Our working definition of acting is, 'Acting is living truthfully
the srory musr
include two main characters.you will discover under imaginary circumstances."Liuing Truthful$. After the
them you t.lt
the story. Second, tighten up your circle, ", yearsI havespent working in the theatre,I keep coming back
get real close and this
time I want you to do it with your .y., llo..d. to the profound powerand beautyof this very simplephrase.It
Go ahead and
do that now and then read on. is the coreofour work together.

More of our acting comesfrom our true listening(anotherw.y

of saying that is beingfully auaihbh) than from anything else.
To achieveyour goals-in this game, what does Our fuel on stageis our partners,the other acrors,so that we
it require ofyou?
well, wnar happens lf you try to prepare with must be open and receptiveto them at all times. Even in the
a word when the
story is on the other side of the circle or, in midst of the most extremeand heightenedmoments, it is
other words, try to
make the story go where you want it to imperativethat we be presentto our partnersand our environ-
go? By the time the
story gets ro you, your word might not fir ment in every moment (the stageis a dangerousplacel). Isnt
anymore, isnt that
big part of rhis game is about a giving up oF
control
this great!If I turn myselfover to my PARTNER and instead
1.r,.?.lo: i
lsnt lti lUso, not anticipating, becausein this ofpushing, give up control, I get everythingI need(like a good
game you rea.lly
cannot prepare. In fact the more you p..p"r., relationship).Yet most actorsmake actingvery effortful, doing
ih. l.s, you
able to tell the story! Itt only in th"t morn.rrr, "re it on their own in spite of their partnerson srage,isolatedin
*hen th.'p*_r,
their own privateexperience(like bad relationships).

8
 The Sanford Mea3nerApproach
SessionOne
N:-: *i,l our first step,"repetition,',we aregoing to bring Exercise
this 1. MECHANICAL REPETITION
whole thing called acting down to its simplestlJvel. In joing
so, I am going to take a number of things awayfrom you. l. Thke rwo chairs and place them facing toward each other.
Just
as.in the scalesfor a pianist, many ofthe keyscannot be played. 2. You and your partner each sit down in a chair so that you are
i' not playingANYTHING,het ptayinjTitts both facing each other. Have a little room between the fwo
l: ar'].ii".
SCAI F- It is by the specificstructure or bot,.,daryof .f,. .."1. ofyou.
that ultimately he is set free.The scaleswill disappearand what
3. Pick one person to start rhe exercise. We'll call you Partner
remainsis the musicianIN the music. Samething with repetr_
tion. I will give you some specific rules to folloi,, a stru;ture 4, For Partner A:
which, down rhe road, will disappearand what will be left is
you in your acting.
First I want you to rurn your head away from your partner.
(who we will call Partner B).
Today,I will also give the first instructions to the .,Observer.,,
Very simply, the Observerwill be assisringand supporting the
*To the Obseruer:Afer
Partnerswho are at work in the exercise.M"rrv ii.rr.r, ,ior. you read through to Step 5, ulten Partner
who are working will be unable ro ,,see"the thi.rg, th.y A bas nrned his or her head auay you taill tahe a moment and
"..
doing, or not doing, rhat are getting in the way oi their own then say "Begin" or "Go" to start the exercise.The Obseruer will
progress.The Observert main job will be to help eachpartner continue to do this throughout todq\ Session.
becomeaware of what is happening. Charrgebegins with
awarenesslAs your skills grow as you acrually do the acti.rg Partner A, when you hear "Begin" or "Go" from the Observer,
exercises,you will also grow in your effectivenessas the turn your head back and say outloud rhe ueryr
frst thing yow
Observer. ACTUALLY NOTICE over there on your partner. This must
be a physical obseruation.(For example, if the first thing I was
Throughout the book, I will be giving the Observer specific aware of as I looked at my partner were her eyes, I would say
things to be warching for as well *"y. ,o i.rt.rr.r *ith th. "eyes" or if it was her green sweater I would say "green
partnerswho are doing the work. ",you may be uncomfortable sweater.")Again it is whatever you ACTUALLY norice and not
playing the.Observer,giving feedbackwhen you dont really what you might conjecture. So you would not say, "You had a
'have
.it all down yei' yourself Thatt great.V.irr, gr.". .p".. bad day' or "You dont like me" and so forth.
to.be in. ri(/hara greatplacefor true learning to ocJur!
"
Listen,
will you make mismkes?Probably.Is it okay io make mistakes?
5. Go ahead and try that a few times, waiting for rhe Observer
Absolutely!If you simply say whar you seeand stick to your
to get you started. Then switch and Partner B try that a few
own simple ruth, you'll do jusr fine. So, be honest ani be
times. Then read on.
olrect.

11
 The Sanford Meisner Approach
'What
you just practiced was something called tabing the
first
thing. It is an extremely important element in our work. .*4ren
you look over at your parmerr you musr say the very first thing
that you are aware of. You also must become aware ofwhen you
dont do that. \X/hat i mean is that you musr notice when you
seesomething and you dont say it and then look for something
else to observe so rhat you can say thar. This usually happens
very quickly, so quickly thar you might not be aware of it. So
now, I am asking you to bring it into awareness.Are you sayirrg
the very first thing that you notice over there?
"To the Obseruer: You must help tbem here by pointing out to the
Partner uho starts xuhen tbey did not use tlte uerl frst thing they
were alaare of Stal rekxed in your attention, rthat I mean is,
don't strain to see if it happens, trust that yu will not;ce it if it
does. When you do notice rhis occuning, simply sa1, "Start again
and tahe the ueryfrst thing you are au.tareof " Do this througbout
today'ssession.
Tiy Step 5 again with this information. You might starr ro over-
ly watch yourself for a few moments, that's OK for risht now.
Go aheadand eachofyou try Step 5 a few more rimes and then
proceedto Step 6.
6. The next step:
Now, start again with Partner A making the physical observa-
tion. After Partner A begins, I wanr Parrner B to repeat what
you hear. So if Partner A says"green sweater," Partner B will say '
"green sweater."Then Partner A, I want you to repeat
what you
hear, "green sweater," and now Partner B, you repear what you
hear, "green swearer," and you keep going, aht,ays repeating
ruhat you hear. Simple, right? Yes it is. Simply repeat what you
12
session One
hear, do nothing else. Now put Step I and 6 together. Partner
A starts and makes the observation which begins the repetition
and then you continue repeating, *luay rePeating tuhat yu
bear.Nso,ONCE YOU BEGIN, KEEPTHE REPETITION
GOING AND DO NOT DROP OUT OF THE REPETI.
TION UNTIL THE OBSERVERSAYSTO STOP!NO
MATTERV}IAI!
"To the Obseruer: You will tell them when to stop. Keep uarying the
length of each exerciseso that those uorbing u,on't begin to antici'
pdte xuhen it is getting near the end. Sornetimes it might be
painfulQ long and. other times a number of seconds. And anltubere
in-benueen. As they arc worhing the partners may begin to baue
all hinds of responsesto the uorh. Cenain$t allou., the rePetition to
continue through theseand seeu,here it bads.
Go ahead and give it a try, each partner having a chance to start
the repetition * *^'*.": then read on'
::::"1'."'-
S o m er h i n g st o b e a w a r eo f a r t h i s p o i n r :
Vhile working, did you notice the word changing at all or did
your partner add another word or even a sound to what was
being said? Did any mistakes occur to the word you started
with as you were repeating?You know what, THERE ARE NO
MISTAKES. (It's the same on stage-there are no mistakes,
you must accept and embrace everlthing that happens!) The
rule is: Thke what you get from your partner and repeat exactly
what you hear. So if your partner changes "circle on the slirt"
to "shirkle on the cert" you must repeat "shirkle on the cert"'
Do you then work your way back to "circle on the shirt?" No,
what is in the past is over and dead, all you have is what is hap
pening right now and you work from that.
 The Sanford Meisner Approach
*To the Obseruer:
if either parmer doesnot repeat exactll uhat the
other p€rson jast gdae to them, stop tlte exerciseand ask if they taere
autare of uthat uas jux said to them. If not, tell them uthat they
missedand then begin again. Ako, abernate ullo stdrts the exercise.
Hout uill you hnow if they heard it and didn't repeat it? Because
you heard it. You see,fom your seat,you are really doing repetition
tuith both partners. (Not out loud, of course.) Make sure they are
precise in repeating €xactl! ubdt u.,asgiuen to them.
Listen, this is new for you too, lou ma! miss some changes. Tbat's
OK, do the bestyou can, right? Your auarenessas tlte Obseruer uill
cont;nuall! grow. Aho, this doesnot mean thry sbould be rcpeating
a cough or a kugh, this gas yu more into the area of mimiching,
which is talhed about;n the next bointer.
Important note: V/hen you were repeating, were you copying
your partner? In other words, were you mimicking how your
partner said what he or she said? IF so, dont. It's not about
copfng the qualiry of how it is said, it is simply about repeat-
ing what you hear. How it comes out of your mouth, leave
alone. Thatt a lot simpler, isnt it?
Did you notice anJ'thing happening with you as you repeated?
Did you laugh or want to laugh or did you both laugh togeth-
er?Any other responses?Ifso, what did you do with your expe-
rience-did you try ro get yourself back together so that you
could do the exerciseright? The rule here is to have whatever
experience yo:u haue and repeat If you start laughing, great-
laugh and repeat. If you're bored, be bored and repeat. By rhe
way, do you have an idea as to where your responsecame from?
Ifyou said the other person you are correct! Vhar was happen-
ing with you came from your connection with each other, a
connection which occurs as you really listen to each other.
session One
(Remember, listening is doing.) Also notice how naturally, sim-
p l y , a n d o n t h e i r o w n a h e s er e s p o n s e sh a p p e n e d . T h a t ' s
GREAI!
*To the Obseruer: Your job bere is to heep the repetition going.
'Vhateuer
responsethe partners haue to lepeating urith each other is
fantasic, AND, do not l.€t them g;ae t? the repetition. For exam-
ple, Partnn A ma1 laugb so hard that sbe has a hard time speah-
ing. Help her to haae ber responseand to repeat, allouting the
uords to come out bou.naerthey come out AS SHE IAUGHS. Do
'DON'T
lou get that? You can yell something lihe, DROP THE
REPETITION!" And if it takesyelling to be heard, YELL! Mahe
sule lou are heard! Also, udtch for, if in the mid* of a large
responselihe this, this partner drops out of listening to the other
person. You can sa1, "Put your attent;on bach on your partner and
rePe/tt!"
ti7hen the Observer interacts with those of you who are work-
ing, do not come out of the exercise. Simply take the note the
Observer just gaveyou, keeping your amention on your partner,
and keep going. Remember, never drop out ofthe exerciseuntil
the Observer saysto stop.
Never do anything more than is actually happening. What I
mean is, be aware of any desire to be interesting.Do not pur-
posely do anything with the words. Leave yourself alone and
repeat what you hear. Your attention must be over there with
your Parrner.
As soon as you hear what you hear, repeat what you hear.-Tate
out any pausing that might be occurring between hearing what
you hear and your repeating it. This is not technical, it is not
about "pacing," it is simply, there is nothing to think about so
when you hear what you hear, repeat what you hear. This does
 The Sanford Meisner Approach
not mean rushing. You musr not be "topping" what your part-
ner is saying or in other words, repeating what he is saying
beforehe has actually finished sayingit.
Vhy do you think this is important? If you jump in too soon,
you are working from the assumption thar you already know
what your partner is going to say. You are assuming that what
has happened before will happen again. (Like in life when we
"already know them" the relationship h dead.) Do you see that?
She may have said "curly hair" the last rwenty times but isnt it
possible,isnt it POSSIBLE that this time she will say_some-
thing else? (Though your father has always put down and
mocked psychotherapy, is it possible tlat today he will have a
sessionwith a therapist?Yesit is. It is possible.)An actor must
neaerassumeanlthing!You never know what your parrner will
say until they have said it. So don't wait and dont rush, simply
repeat what you hear when you have heard it.
*To the Obseruer: The partners tuho are
repeating ma! not be
auare that they are pausing or that they are to?ping each othen
'As
Help them tahe the pauses out b! salin& soon as 1ou ltear it,
rePeatit" or "Tahe out the pausel" If thel are to?ping each other
lou can sa)/, "Don't rush, really listen!" or "Partner B you're topping
ber, don't tuorh so hard!"
7. Go ahead now and do some repetition. \Work for about
rwenrv
minutes
-'- .":t':'i
:"1 :':'*'"
How is that feeling for you? Let me tell you a few keys to all of
this work:
Don't do the repetition, let the repetition do you.
Session One
Stay relaxed and dont try so hard to get the exerciseright. In
facr, trling to do the exerciseright is not doing the exerciserightllt
is the TRYING that creates a tension which will shut down
your true availabiliry.
There is no need to keep the exerciseon ffach becausetbere is no
trach.
There is no ruhere to get to solou might as tuell be there- Do you
see that? There is truly nowhere to get to! Isn't that a relieP
How much of our lives are we trying to get somewh€re else?
'When
I do this or that I will have arrived! How often am I
actually right where I am? How often am I right here, right
now? You see, acting must always be: right now, right now,
right now, right now, right now, right now, right now...each
"right now" taking us forward. How magnificent when we can
stand fully in RIGHT NO\f!
'We
are making acting very simple . You don't have to be a "great
actor" to do this, do you? You dont have to be "interesting." ln
fact, if you are in any way trying to make the exerciseinterest-
ing, you will be unable to really do it. You know, Stanislavsky
said: "...you are more interesting than the greatestactor that
ever lived!" The audience doesn't need another Robert Duvall,
we've already got a GRMT ROBERT DTIVALL! lfhat they
need is a fully authentic, fully alive YOU! iA like you to oo
something I do with my "in person" students. Spend a few
minutes with your eyes closed, repeating the following three
words to yoursell "I am enough." Go ahead, take the time to
do that now. OK. trave it all alone now. Go play some basketball.
: '., I i

Session Two
Point of View
\rARM UP
Do repetition for about fifteen minutes and then read on.
(\i?hen I give you a length of time, that is for each pair ofpart-
ners in the group.)
INTO IANGUAGE
Ve are now going to take a next step with rhe repetition. For
no better way of saying it, I call this step, 'putting into lan-
guage." It is a simple new element in rhe work and it will rdse
a few very important issues.It works like rhis: As I rurn to my
partner and see her green sweater, rather than saying "green
sweater," I might say, "You have a green sweater" or, "You're
wearing a green sweater" or whatever words come out of my
20
Session Two
mouth as I notice the gr€en sweater. So as compared to "green
sweater" this is now more like real talk-it is real talk! How you
say it is not important, itt however it comes out of your mouth
as you notice the first thing. So I might have said, "green
sweater on you there" or, "sweater, gr€en s\ryeateryou got on."
It's however I discover I am saying it as I say it.
Now, with this ntw element in the repetition, go ahead and do
some.Each partn€r start two times, then come back and read on.
Now there are some things to talk about.
First this example to illustrate:
I came to work with my paitner today. I am wearing jeans and
a grey shirt. She has on black pants and a red shirt. rWe sit
down to do repetition and she begins- She lools over at me and
says,"Youie wearing a grey shirt." Repeating what I hear, I say,
"You're wearing a grey shirt." She says, "You're wearing a grey
shirt." And on we go.
As we move into real ::lk or really talhfng to each otber and in
beginning our movement away from mechanical-land, we have
to deal with one, ubati happening and two, ov truthful point of
uieut. Both of these lead you to the first changes that must
occur within the repetition.
\?HAI'S HAPPENING \
Lett look at the example I just gave. Who's shirt was my part-
ner talking about? She was talking to me about my grey shirt.
That is what was happening in the moment. So I must frw
repeat what I hear and include what is happening right now
 The Sanford Meisner Approach Session Two
She said " Youre wearing a grey shirt," so I would now repeat, and from your truthfirl point of view Now do somerepetition
" I m w e a r i n g a g r e y s h i r t . " I r e p e a r e dw h a t I h e a r d a n d I
and work with this new information. Each partner begin five
changed rhe " You'rewearing..." to " Im wearing..." to keep the timesand then readon.
truth of what was happening, which was about my shirr.
(Explaining ir is making it sound more complex than it really
is, as you will seewhen you do some more repetition. Let me
make a few more points before you rVork again.) Other things to be aware of now:

As we bring the repetition into languageyou are going to come

TRUTHFUL POINT OF VIE\( up against some life conditioning. First, your partner may say
something to you and you may find yourself pausing to consid-
As I said earlier, all that we have to work from as actors is our
er. Know that this is the mind's habitual responseout of the
rruthful point of view and we never give it up. So when I
need to be right. The mindt function is survival or in other
respond to my parrner and I repeat, saying "You're wearing a
words, being right.
grey shirt" what does she know to be true? She knows rhat she
is wearing a red shirt. lVhat must she than repeat to keep her
At this point in your work it is vital to repeat immediately, as
truthful point of view? She repeatswhat she heard and changes
you hear what you hear. In this way, ifyou allow it to, the repe-
the repetition to "l'm wearing a red shirt" or, "I'm not wearing
tition will take you to what you know to be true, rather than
a grey shirt." The repetition is changing becauseIT MUST
you figuring it our. Figuring it ot'.t puts you right in your head.
CFIANGE. It changesas she holds on to what she knows to be (And being in your head is the death ofyour acting.) Example:
rue. AL'WAYS! (And what if you really believed thar her shirt
My partner saysto me "You look like a bull frog." In my mind,
was grey?rVhat would you have to repeat back to her?) 'A
I pauseto consider, bullfrog?'Vhat doesshe mean by that?
Oh God, do I look like a bullfrog? Hey, I dont think I like that
Here are a few examples to demonstrate how this makes very
she said that...oooh, is there somethi5g in my nose, and so on.
simple sense.If my partner has her hands on her lap and I s.y,
If I repeat immediately, and keep in the repetition with my
"You have your hands on your lap" and then she moves her
partner I will not be able to think about it, and may suddenly
hands somewhere else, the repetition must change. She might
discover what I know as I hear myself say, "l DON'T LOOK
then say, "l don't have my hands on my lap" or "I had my
LIKE NO BULLFROG!"
hands on my lap." Lett say my parrner has on glassesand I
don't. I start with, "Youie wearing glasses"and he repeats back
As opposed to what most people think, what we know, takes no
to me, "You're wearing glasses."What would I have to say?
thought. An infant communicates to us very specifically and
Vell, something like, "I'm not wearing glasses."Got it?
with no thought. "Yeah, but that's instinct!" you may be saying
to me. EXACTLY!!! EXACTLY!!
So you see, the repetition can change now. It changes not
becauseyou want it to change or you feel like changing it but *To the Obseruer: Vhen you u.,orhagain, uatch
for these pat)* of
because it must change as you work from what is happening
thought and tell the person talten it happens.h is so mucb a habit

22
 The Sanford Meisner Approach
and it happens so quichly that it is ofen hard to notice. All of yu
must become aware of uthen you do this. 81 stopping tlte exercise
and lening the person hnou., they are pausing to thinh, thq will
soon ht go of this old babit, simply out of the neu) au)arenets.
Change begins only with au,arenes.
Right now, you may encounter resistanceto saying the first
thing. In other words, you are censoring your first response.
My partner might look at me and see "big nose" but not want
to say it for fear of hurting my feelings. It's not nice to say
"Youve got a big nose" and it is urgent that she does! Vhy do
you think? In our acting, we must get beyond the actyou and I
have so carefully mastered in life. This is not a good/bad thing
and itt not a criticism. it's survival. Most people speak of me as
"a very quiet and intense guy." Is rhat all I am? Of course not, I
am all kinds ofthings, as are you.
In our work together, the beginning of becoming rhe full
expressionof ALL that we are, starts with saying the first thing
and dropping the nice 16u1ing-x1d I'm not saying dont be
nice. You must give up being nice and I AM NOT SAYING
DON'T BE NICE. Do you get that? Acting has no room for
niceties, reasonablenessor "being appropriate." (Vhen you are
really living in the present, you are always appropriate!)
Also you must realize that saying the uuth to our parrners is a
gift, always! They now have something real to respond to, OH
BOY! They are real with me and I have a real responseto that.
As opposed to most of life where very little real communication
EVER HAPPENS. Vhy are so many relationships dead or
dying? Vhy are so many employeeshaving heart attacks?FIow
many times have I spent a week going over in my head what I
"SHOULD HAVE SAID!" 1love what David Mamet says,rhar
people go to the theatre so that they can seerhat real communi-
cation between human beings is still possible. Oh, one more
session Two
thing. Whe n we don't tell the truth on stage' the audience
knows. No matter what you may think, they know!
In a moment, you will do some more repetition. If you are
working in a group, those who are watching should start to
notice what is going on with the partners who are doing repeti-
tion. (I'm planting a seedhere!) As the partners repeat, what
responsesare they haiing and how would you describe what
you see happening with them? (Is something making them
excited, or are they bored stifP Are they relaxed and calm or
filled with anxiery?)
*'To the Obseruer:At times, wlten
1ou are daare of sometbing spe'
cifc happening with one of the partners, stoP the repetition and let
the group members who are not. taolhing, each say what they saw
happening with that person, in that moment. Do not discussit,
simply haue eacli Person state tuhat they sau happening ilom their
ottn point of uieu. ("You got mad" or, "That madeyou uncomfort'
able" or, "You realfi enjoyedthat," and so on.) Then haae the part-
ners who are worhing jump bach into rePetition. By the tuay, are
all ofyou right in your obseruations? It's not nbout being rigbt, it's
about what you got from utlterelou are sitting, uhat you hnow
(Lihe the tuaentYuitnestes at a banh rob-
fom your point of uietu.
berl utho haue twenty dffirent stories.)
Go ahead now and each do a good ten minutes of repetition'
lWhen you have finished, stop' Go get some Ereat Mexican
food.
HOME\SORK
BeforeSessionThree, meet with a panner a minimum of rwo tinqs
and at eachmeetingdo at leasttwenty minutes of the repetition.
 r
lngiration may be a form of super-conseiousness,
or perhaps of Session Three
subconsciousness-Iuouldn't hnou. But I arn sure it is the
antith esis of self conscious
ness,

-Aaron Copland What's Happening

\TARM UP

Begin today with twenty minutes of repetition and then read on.

THETHREE MOMENT GAME

I want to work with you now on this thing called"\Vhat's hap-

pening." To do this, I will give you a game to play, a game
which is artificial but is usefulin that it will serveasa bridge.A
bridge which will take us from where w€ are now to what is
next in the work. Here is how the game works: (Read the fol-
lowing and then I'll haveyou do it.)
 The Sanford Meisner Approach
. Partner A: In your mind, you will make up a
proyocanve
quesrion that you really want to ask your partner.
Provocative in the greater sense of the word. The more
provocative the better. Then, you will ask your partner the
quesuon.
. Partner B: You will repeatrhe qu€srion,just as you
have been
doing in the repetition, immediately.IMMEDIATELY! And
allowing yourself to have, as best you can, whatever response
you have ro rhe question. Do not tr1 to have a response,sim-
ply allou whatever responseyou have to rh€ quesrion as you
rePeatrt.
. Partner A: You will then stop for a moment and describe
as
best you can what you saw happening over there. Vhat did
his or her behauior"say to you.r' Something happened with
your parrner as he or she repeated the question and it is your
job to say what the behavior was, from
Tour point of uieu.
Grapple wirh this outloud and when you have narrowed it
down and made it specific,you will state it to your parrner
direcdy. Thar's the end of the game, three moments. Orrc,
the provocative question. Two, the responseas you rep€ar rhe
question. Three, stating to your partner what his or her
behaviorsaid to you.
Three mome nts, you see? Heret an example:
Partner A: Does anyone really love you?
Partner B: Does anyone really love me?(As she repeated the
question,her eyesIooked away,she smiled and giggted.)
Parrner A: (\Torking outloud...) \Well there was a gleam in your
eyes,but you didn't wanr me to see it. Your face gor red, ir's "
still red. I think the question really embarrassedyou, yeah,
that was the strongestthing I got. (He ends with a simple,
direct statementto her...)That embarrassed
you.
End of game. Now the other person asks the question.
2A
Three
/ Session
Go ahead now and play the Three Moment Game with each
other; each partner ask five questions. Take your time and have
fun. Then let's talk about it. Now play, then read on.
Here are some important things to notice and to be aware of as
you do this game. See if any relate to what just happened as
you played:
Sometimes you may find yourself, in the third moment, stating back
to your partner what you think the answerto the question was.
Partner A: Do you like cleaning toilets?
Partner B: Do I like cleaning toilets?
PartnerA: You reallydont like cleaningtoilets!!!
'We lVhat
are not interested here in the answer to the question.
we are interested in is what the behavior said to you. So in thrs
example your statement to your partner might have been,
"That made you ill!" or, "You wanna puke!" or whatever it was
to you. If you find yourself stating back what you think the
answer to the question was, stop and try to figure out what
happened with your partner-wltat uas in their behauior that
gauelou the answer.
Do you find yourself using words like "seem" or "look like" as
you tell your partner what their behavior said to you. " Youseem
pissed" or "You looh like yow want to scream." You must take
"seem" and "look like" and any other modifiers out ofyour act-
ing vocabulary. Do you have a hunch why this is important?
You know itt a risk to say what we believe to be true . Horrific
consequencesare possible!The other Person may not lik€ us!
Or, she may disagree.Or tell us we are just plain wrong. In life
"seem" and "look like" and all the others are buffers, a way out.
 The Sanford Meisner Approach
In our acting we want to take away from ourselvesany way out,
any safety net and we wanr ro say exactly r,vhat we mean. So
start catching yourself as you do this and stop, then say it over,
tell your partner what you got from their behavior withour the
buffer word.
*To the Obseruer: If the parmers
u,'orking use tbe uords "you looh
like," or "you seem"and so on, stop them and tell them so that thel
can begin to tahe those words out of their acting aocabular!.
You may be finding, at times, that when your partner repears
your question, you think there is nothing to describe because
very little is happening. Listen, THERE IS NEVER NOTH-
ING, THERE IS ALVAYS SOMETHING! (ltt like your best
friend calling you up late on Saturday nighr and saying, "Hey, I
just went on that blind date you set me up on and boy did that
girl have no personality!" That really isn't rrue is it? Isn't there
really no such thing as "no personaliry?" There is always some
kind ofpersonaliry you see?)All you can do is tahe uhat you get
and work from that. So ifyour partner just looks blank to you,
you might say, "You're blank" or, "That doesnt do much for
you" or whatever words you find.
Did you find this difficult? Are you finding it hard to "read"
your partner? It is difficult! Ve are stretching new muscles here!
What I want you to know right now is that what you get from
your partner is not simply what you see with your eyes.
Sometimesyou may get somerhing and not really know how
you got it, yet you have a hunch about it. TRUST THAT
HUNCH. Ve'll talk more about this later, now I want vou ro
do some work.
I want you ro play the Three Moment Game for twenty min-
utes. Then read on.
30
b.-
Session Three
Back to repetition: I now want you to take something away
from your repetition. You no longer need to look away from
each other to start the repetition. Now, you will sit down facing
each other and begin. Vho begins?You'll find out as you sit
down. Vhoever begins, begins. There is nothing to wait for:
t*4ratever is the first thing you get as you sit with each other, is
the thing you start with. So the looking away business,to get
the first thing, served its purpose and is no longer needed'
V/hat I'm saying is, we are through with it so dont do it any-
'We are always
more. (That's very much how this work goes.
moving forward, never going back.)
*To the Obseruer: Once the rePetition has begun, yu utill call out
tbe Partners' names to baue tltem u.,orhfom a neu obseraation.
Nou, the repet;tion utill not stop but uill be continuous. So, leti
sal the rePetition is under utay and you say "Nancy Go!" Nancl
uill immediately say tahateuer sbe'sauare of ouer on her partner,
in that moment, and tbe repetition continues-the Partners utork'
ing fom tbis netu obseruation.Then, at somePoint lou sab, "Bill
Go!" Bill uill nota immediatei say uhat be obseruesin that
moment and onuard thel go. And so on... You tuill continue to do
this tbrougltout tlte exercise.Haue fun and be trichy Gall the same
persons name three times in a rou, and soforth) so that the part'
nerscannot dnticiPate the changes.
Now do ten .'"*'"tj':':":': set of partners'
:'::"
HOME\(ORK
Betweennow and SessionFour, meet at l€asttwice with a part-
ner and at each meeting do twenty minutes of the Three
Moment Game. Then do ten minutes of repetition.
 The Sanford Meisner Approach

CI"{RIFICAIION

You may havea questionhere about how, when you arework-

ing on your own, to start from new observationswhile the rep-
etition is going. Well, asyou havejust learned,you both sit and
one of you will begin.Then, as you are repeating,at some
point, the other partner jumps in with their observationand
then you both repeatthat. Then, at somepoint, the other part-
ner jumps in with a new obs€rvationand so on.
r
Liuing is a form of not beingsure,not knowing ultat, next or
Are you wonderinghow long you should keeprepeatingbefore hou.,.The momentlou hnout hou, you begin to die a linle. The
someonethrows in a new observation?Please,dorit worry so altist nea€rentireQ hnous. Weguess.Wc may be urong, but ue
much about doing this right, remember?Explore! Whenever taheleapafer leap in the darh.
one of you has a strong impulse to changethe repetition
becauseof something you just observed,SAY IT! Seewhere -Agnes De Mille
that takesthe two ofyou.

Seeyou at SessionFour!

33

Session Four
Working-Off
\rARM UP
Do ten minutes of the Three Momenr Game and then read on.
THREE MOMENT GAME: PARTII
You know, what we are doing with the Three Moment Game is
'\fle
crucial. are isolaring this thing called behavior. We are
zooming in on behavior and strengthening our ability to really
seeit. (And I dont mean just with the eyes.)As actors, we really
must get on intimate rermswith the domain of behavior...
Now, I want you to do the Three Moment Game in the follow-
ing way. Everything srays rhe same except for the third
mom€nt. Now the third moment musr happen immediately. So
34
Session Four
take out the thinking about what you get from your partner's
behavior as they repeat the question and tell them what you got
immediately! Then, let that third moment lead you into repeti-
tion. Here is an example:
Partner A: Do you stuffyour face when nobody is looking?
Partner B: Do I stuff my face when nobody is looking?
Partner A: (immediately!)Ooh, that struck a nerve!
Partner B: Ooh, that struck a nerve?
Partner A: Ooh, that struck a nerve!
Partner B: Ooh, that struck a nerve.
And so on, and so on...
As you let the third moment lead you into repetition, continue
repeating for seven or eight moments only. Do not go on at
length as you have done before. OK, you can go ahead now
and do the Three Moment Game in this manner for twenry
minutes. Vork now and then read on.
How does that feel?In the third moment, did you find that
sometimes you knew that you got "something?" from your
partner but you could not immediately find the words to
describe it? That's OK. If you dont have the words you must
still respond to what you got from your Partner, so, respond in
some way. You don't have to say it good and it doesnt have to
make sense!So if your partner screamsin delight your immedi-
ate responsemight be "\(O\7EE \7O\w \7O\7 VO\?!" You
see,it is better to respond immediately, than to stop ro "Get tt
right" or "Say it well", AL'$7AYS!
I want you to read on into the next section now, as we bring
the next element of the repetition into play.
 TheSanfordMeisnerApproach Session Four

REPETITION: \TORKING-OFF Partner B: You are proud ofthat??

Partner A: You're angry.
I want you each to try something right now. Partner B: I'm angry.
Partner A: Youie angry.
Do the Three Moment Game as you have just done it, the third Partner B: I am angry!
moment leading you into repetition. Now as you are repeating, Partner A: You admitted it.
when you are aware of something happening ouer tltere, some- Partner B: I admitted it.
thing that you g€t from your partner, you can say it. I am Partner A: You admitted it.
telling you that now, as you are aware ofthings happening with PartnerB: So I admitted it!
your partner, you must respond to that-which means thar rhe Partner A: You are really defensrve.
repetition will now have changesin it. Give that a try and once Partner B: I am really defensive.
your into the repetition, dont stop for a while. Simply allow Partner A: Yeah,you're defensive.
the repetition to change when you are aware of something Partner B: I'm not defensive.
goingon with vou'*":: .'-' *'n readon' Partner A: You are defensive.
""0
Partner B: I'm not defensive.
:" l' :: :: Partner A: You are defensive.
Partner B: Sticking to your guns, huh.
Going back to the example I used before, here is an example of
PartnerA: Sticking to my guns, huh?
what we are working toward at this point:
Partner B: Sticking to your guns!
Partner A: Sticking to my guns?
Partner A: Do you stuffyour face when nobody is looking? PartnerB: You don't understand.
Partner B: Do I stuffmy face when nobody is looking? Partner A: I don't understand.
Partner A: (immediate$!) Ooh, that struck a nerve! PartnerB: You dont understand.
Partner B: Ooh, that struck a nerve? PartnerA: I dont understand!
Partner A: Ooh, that struck a nerve! Partner B: You really mean that.
Partner B: Ooh, that struck a nerve. PartnerA: I do mean it.
Partner A: Yeah, that struck a nerve! PartnerB: You do mean it.
Partner B: Oh you think you got me. Partner A: I do mean it.
Partner A: Oh I think I got you! PartnerB: You do mean it.
Partner B: Yeah, you think you got me. PartnerA: You'rereally raking me in.
Partner A: Yeah, I think I got you! Partner B: I'm really taking you rn.
PartnerB: You'reproud ofthar. And so on...
Partner A: I am proud of that!
PartnerB: You are proud ofthat? \0hat we are getting into now is uorhing-ofi becoming avail-
Partner A: I am proud of that!! able to what is happening with our partner and being rn

36
 The Sanford Meisner Approach
Session Four
responseto that. I want you each to do twenry minute of reoe_
Did you find that, at times, you were aware of yourself having
tition now, working-off your partner.
thoughts during the repetition? A lot of times these thoughts
are the very dring you could have said to your parmer but didnt,
*Tb the
Obseruer and All Group Members: you all must nout be so you end up thinking about it. For example: You feel that
actiae participants, taorhing in you must, at all timet, your partner is "taking control" and you hear yourself repeating
lnur seats.
be "uorhing-of" the tLUo automatically (like a roboQ For a good many moments while in
?artners who are doing repetition, sittmg
o,n.the edge of your seats improuing your head you are thinking, "God, het controlling this thing!"
lour own abit;4, to *orh_of
behauior. You must not be sitting bach passiuely raaiting to be There are two things to do:
mtertained! The question i, u.,hatareyo* gming
fom uthae jou are?
First, you must begin to allow that voice in your head to be
'Work
now, twenry minutes for each set of partners and then expressedto your partnet "God, you're controlling this thing!"
let's ralk. You see,thatt the repetition!

Or second, if the moment has passed,you must bring your

attention back to your partner and what is happening right
As you did the repetition, did you find periods of working with nota.
-and
each other where the repetition wenr on for a lonq time it
didn't change?Do not worry about that ar this poinr. It is ber- So if you're thinking "'i/hat a great smile" and by the time you
ter for. that to be happening right now then to be looking realize you've been thinking this for a while she'slooking very
for the
next thing or trying to make the repetition change. you see, this serious, you work- off right notu "You are very serious."
is all very ner,v to you right now, so you will be missing
moments, not getdng all that is coming your way. your work, Listen, the mind is extremely seductive, so you must bring it to
asyou keep doing the repetition, is to become more fully avail- awarenesswhen you are getting lost in thought and out of sheer
able to each momenr as it happens. will, bring yourself back to your partner. It's hard work now,
but ultimately, it will all be like rying your shoes-you wont
How do you do that? Let me tell you something, you cannor have to think about it!
MAKE yourself more available, you can only invite it and
encourageit to occur. The repetition is your vehicle. It will take Each person do another ten minutes ofrepetition and then call
you there if you do the things I have told you. Again, work it a day.
consistently and "Don't do the repetition, let the repetition dd
you", which, right now means: Repear immediately and keep
your attention on your partner. In this way you cannot ger
ahead of yourself and you will discouerwhen the reDeritioo
must change rather than trying (efforting) ro find the things to
cnange rt to.

38
 That's a big deal for us actors, isn't it. Let's include acting
teachershere as well, becausethis is precisely where many
teachers are crippling, even damaging their students, by
encouraging various forms of psychological warfare in the
classroom. In my experience of working with actors and
acting students around the country, the "emotions" are cer-
tainly an area of confusion as well as a sorrce of tremen-
Chapter 0ne dous frustration.

setting the stage '$7e

will be exploring here the part of the Meisner
Approach called "emotional preparation." Many people,
exposed to only isolated portions of this or that part of the
Meisner Approach, have thought that Sandy'suse of emo-
tional preparation was simply about getting emotional. Of
course, if you take this aspect of the work out of context,
FRSEDOM. that is what it would look like. But it's important to remem-
ber that each part of this approach is another building
Let's take a look: block; we are building something here. And you'll really
start to enioy living in the house when all of the bdcks are
ease in place (and like the third little pig, the wise one, let's go
opeflness the extra mile and build it well.)
spontanelfy
liberation What I know is that emotional preparation, in the big-
unconstfained ger picture of the actor's craft, is not really about "being
unobstructed emotional" - it is about deepening the actor's availability
unfettered and connection to what has profound meaning to him or
unimpeded her. And for what purpose? So that we are prepared and
unconfined ready to take action! So that we know in a very clear and,
personal way WIry we are taking action! Remember, act-
Great words for actors, don't you think? ing is doing. Acting is not "talking about" and it is not "feeL
ing about," it is doing something. Acting is doing - doing
Continuing from where we left off rn Workbook Onq with meaning. We do not go on stage to emote, we go on
we are now going to addfess - very directly - emotion. stage to accomplish something against all odds; we go on
stageto fight fof what we know is true and right and necessary.

settingthe stage 3
 Now in life, what is it do you think that gets us to take
action when it is not easyor within ouf comfoft zone to do
so? Isn't it always because we have a very stfong and per-
sonal need? Isn't it always because our feelings about that
particular thing run deeply, so deep that we move our.
selv€spast all the head's cautions to wait, to be careful, to
do it tomoffow, to leave it alone, that it's not that impor-
tant an)'way,that we'fe better off where we afe, that people
may not like us if we follow ouf impulse to do this thing?
And let's face it, you and I are emotional beings. We afe
born fully alive emotionally. As infants, we are not only
uttedy expressive of what's going on with us, we are much
mofe aware of and responsive to the inner state of the peo-
ple around us - what's actually going on with them - than
the words they speak. As adult actors, we must re-open
ourselvesto that kind of emotional availability becauseit is
tfue on stage as well, that the words are never really telling
the whole story. If th€ play is to live , we must be aware of
and responsive to what's really going ofl with our partnefs
on stagein each momeflt.
Also, it is vital that we are able to "realize," to fulfill, the
emotional demands of the script. We don't have a violin to
play - we afe the instrument, and so we want to be able to
"play" the full range of our own unique notes; not only the
limited fange of notes we play in our day-to-daylife, the
entire range! Now, as we work together, we will be doing
some "getting emotional." For a while, you may even become
overly "emotion conscious." I find that to be par for the
4 chapter one
course in this aspect of the work becausewe are specifi-
cally isolating this thing called emotion and putting it under
the micfoscope. Unfortunately, many actofs don't then
deal with the more advanced and esSentialaspectsof inter-
pfetation, and they become trapped in a haze of emotional
self-consciousness.(ffhich is why this is book two of my
four book serieson the Meisner Approach. Books three and
four will be dealing with the acting tools of working with
text and interpretation.)
Going back to the violin analogy, if you were a violin
student and you worked long and hard enough on the
scales, at some point your fingers would go to the riotes
you want to play without having to think about it. Same
thing here. I have found that, out of dealing with emotion
directly and discoveririg ways to work with ourselves in a
deeper way, and as we learn specifically where to channel
all that we are feeling, we eventually become much less
concerned with emotion. And so, ultimately, through this
very demanding portion of the Meisner Approach, you will
develop a more expansive and richer acting instrumefit and
you will experience greater freedom in your work. Greater
freedom. Sounds good, right?
This would be a good time to introduce you to emo.
tional preparation and explain more specifically what it is.
setting the stage 5

C h a p t e r Tw o must not be acting triumphant and loyous - you must actu-
about emotional
preparation
Let's say that you arc in a play and you are playing the
p rt of L married gal who is coming home from a bowling
toumament. It is the first scene of the play and you have to
make your entrance. You are walking into your living room
wh€r€ you discover your husband dusting the fumiture.
The director has told you that he wants you to do a little
celebration danc€ asyou enter. Here are the first three lines
of the play:
Wife (you): Honey, you are looking at a bowler herel
Husband: Vow, you are on top of the wodd!
'W'ife:
We won, babe, we won the toumament big time!
Now, after reading those three lines it is cleaf and obvi
ous that, as the wife, you are going to be required to make
your entrance in an emotionally atve place that will not
only make sense of what you say and do when you come
6 a b o u t e m o t i o n a lp r e p a r a t i o n 7
in, you must also make it possible for your partner on stage
to say his line, "WoLt,,you are on top of the uto d!" You
have got to come into the scene ON TOP OF THE IrORID!
Ifell, how do you go about getting yourself into that kind
of triumphant, joyous state while you are off-stage?
Remember, in our work, we don't pretend and we don't
fake. This means that when you make that entrance, you
ally BE tfiumphant and ioyous.
This is what emotional preparation is all about. It's
what you do before you enter so that when you do enter,
you afe emotionally alive. And as you see from my exam-
ple, the nature of the preparation you do is dictated by the
demands of the play. "Bur" you say, "I don't giue a d,amn
about bozuling or ulnning a bouling tournanxent. How
am I going to get truly excited about that?" Great ques-
tion! You have brought up an amazing and fantastic paft of
the acting process.Here I am the actor and over there is the
plal'wright's play. It is now my iob to take the words given
to me by the play'wright and invest them with life. You get
that? INWST THEM WITH LIFE! Now there's a juicy state-
meflt that tums me on. And invest them with whose life do
you think? The character's life? V/hat character? Is the char-
acter going to act this part? No, you are. You will invest the
words with your life! Now, I get excited when I think
about sinking myself into the puzzle , the mystery of cre-
ation as an actor. And you know, that's what it's all really
about. Do you think all this acting technique stuff is so that
you will end up with some sort of "one plus one equals
two" kind of formula? Forget about it! All technique is
about one thing: making you strong and willing and able to
allow the mysterious to occur. Remember, great acting
only occurs in th€ teffitory of the unlnown. Us actors must
always retum to the land of not knowing because that is
the only place it is possible to actually discover anlthing
I didn't really answer your question about getting truly
excited because of the bowling tournament, when you
could care less about bowling. Vell, I'm not going to
answef that question now. The ways into the very pefson-
al solutions for that challenge will be revealed as we work
together on the exercises in this book and in my following
two books. Let me also note that not every entrance you
make in whatever play you are working on will be as
heightened emotionally as in the exercises we will be
doing together. But in all great plays the stakes afe very
high and you will be called upon to take on the most
extreme circumstancesimaginable. So it is vital now, in our
exercise work, that you reach fufthef and dig deeper than
is cornfortable or reasonableto do. As Sandyused to say to
tts, "I'm not interestecl in training actors to bunt, I u,ant
to train actors so that they can hit home runs!"
One other thing. Emotional preparation is probably the
most elusive paft of this whole approach, it is ceftainly the
most personal. What I mean is that, no one can really teach
it to you. As we go through the exercises,you will actually
begin to discover and develop your own ways of working.
I thint that's gfeat news, don't you? Listen, as I have said
before, I'm not interested in you becoming ^ great
"Meisner actor." \fhat I am interested in is giving you some
specific ways to strengthen your own individual craft of
acting asyou become the most passionatelyautheritic actor
you can be. And, as you know, I certairily believe the
Meisner Approach is the best way there!
So, ler's get to it.

T H EE X E R C I S E S

In our work on emotional preparation, we will begin by

doing some new exercises in which you work without a
partner. Then we will come back around to the kind of
exercises you learned how to do in the first book on this
approach using repetition, activities and relationships. As
we retum to those exercises.we will add new elements. as
well as raise the emotional stakesin the way you set up the
exercise. You will also see that the activity, which in the
previous exercisesalways had a physical difficulty, takes on
a new dimension.

I chapter two about emotional preparation 9